Dramatic Metaphors of Fascism and Antifascism

Acknowledgements
Preface: Attitudes. Fascism and Antifascism - “keep watch over absent meaning”
CHAPTER I: Introduction
Facism and Antifascism as Postulated by Drama - “Myth would seem to be the radicalization of a hypothesis”
Nationalsocialist Fascism - A Political Agenda as Dramatic Form
The Discursive Space between Myth and Ideology
Dramatic Strategies - The Coincidental Contrary and the Contradictory
CHAPTER II: Precedents
The Artist/Führer as Dramatic Experience - “denounces thought as experience”
Brecht’s Baal (1917/19) as Opposed to Johst’s Der Einsame. Ein Menschenuntergang (1917/19)
CHAPTER III: Strategies - Contrary and Contradictory The Son’s - Soldier’s Homecoming - “the undesired return”
Emst Wiechert - Der verlorene Sohn (1935)
Franz Theodor Csokor - Der verlorene Sohn (1934)
Max Frisch - Nun singen sie wieder (1945)
Versions of the Crucifixion - “the disaster which is outside history but historically so”
Otto Erler - Thors Gast (1937)
Rainer Werner Fassbinder - Der Müll, die Stadt und der Tod (1978)
George Tabori - Die Kannibalen (1968), Mein Kampf (1987), Jubiläum (1983), Die Goldberg Variationen (1991)
CHAPTER IV: Germanomania
Dramatization of Mythologems and Ideologems - “It is not thought that disaster causes to disappear”
Richard Euringer’s Deutsche Passion 1933 and Heiner Müller’s Germania Tod in Berlin (1956/71)
Two Versions of the Coincidental Discursive Space between Class and Nation
Plot and the Versions of the Coincidental
The Contrary and the Contradictory as Coded by Characters
Mythologems and Ideologems in Contrary and Contradictory Strategies
The Theatrical Presentation as an Ideologem
Concluding Remarks
CHAPTER V: Conclusion
Theater as Political Message Bearer - “the dark places are the center. Pass them by and there can be no serious discussion of the human potential”
BIBLIOGRAPHY
INDEX